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Banjo virtuoso Béla Fleck knows no boundaries

Raised in New York, banjo superstar Béla Fleck has spent decades crossing musical boundaries, playing "new grass" bluegrass, jazz, classical music, African music and various fusions of the above. Best known for his band Béla Fleck and the Flecktones, he switches things up this week by performing four solo banjo concerts, May 16-19 at the SFJazz Center in San Francisco.

Q Béla, four nights of solo banjo? What's the draw for you and the audience?

A There is the chance to showcase what the banjo can do on its own, and there is the chance for very spontaneous playing, since no one has to follow what I'm doing, and there is the chance for greater intimacy with the audience, which can happen when you are up there with no safety net.

Banjo virtuoso Bela Fleck. Photo by Michael Lutch.
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MICHAEL LUTCH
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Q You're 54. Why haven't you ever done this before?

A Well, I've put my toes in the water, but never dove in. I always try to play solo in every concert, even for 5 or 10 minutes. I always look forward to it. I honestly wish I had been doing this all along; I'm sure I would be very confident and strong by now. But also -- perhaps I just wasn't ready.

Q You're named after the composer Béla Bartók. Have you ever played his music on the banjo?

A No, but I will. It's taken me a while to open up to his music; now I absolutely love it.

Q I know you're an Earl Scruggs freak. Whose music do you prefer -- Bartók's or Earl Scruggs'? Why?

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A I don't think I should have to choose! I am glad to live in the world that these two men inhabited not long ago, and still do -- through their incredible music.

Q What's an Earl Scruggs album everyone should listen to?

A I recommend the Flatt and Scruggs TV show, which has recently been released on DVD. This is the great band in its heyday.

Q Growing up, did you play music with your parents or siblings? What was the scene like in the living room?

A My mom played three chords on the guitar. She was more of a camp counselor guitarist, singing the simple folk songs. So once I'd absorbed her three chords, I was on to other pastures!

Q What music was on the stereo in your home as a boy?

A My older brother Louie and I were serious music freaks, starting with The Beatles, and moving on into everything that the 1960s and '70s had to offer. Then there were some Broadway show records and Bob Newhart, Tom Lehrer.

Q How'd you enjoy recording with jazz legend McCoy Tyner a few years ago?

A That was a treat. He was a gentleman and, of course, is a historical treasure as a player. We played, and then we sat around, and he told me stories about hanging around with Coltrane and others. He seemed to really enjoy the banjo.

Q What makes a "great" musician great? What are the universal qualities behind musical greatness?

A Musical greatness usually has a lot to do with individuality. We don't tend to celebrate musicians who are mostly great technical players. They have to have good taste and a lot of personality. That's the hard part to teach, and maybe it shouldn't be taught. People rise out of the scene because they are unusual. If everyone is taught to be unusual, then who will be special?

Q What allows you to move so breezily between musical genres? Where does that flexibility come from?

A I don't know, except that there is energy that comes from playing music that is fresh to you. Going back and forth between different musical situations means it's always new. So inspiration comes easily.

These days I have been working with orchestras a good bit, playing the banjo concerto that I premiered a couple of years ago and also a new quintet for banjo and string quartet. I'm very proud of these pieces, and there is an album coming out in August with both pieces included. I want to keep on composing; it's a good place to stick all this stuff I've been learning!